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| Martin Donovan and Mary B. Ward in Surviving Desire |
Cast: Martin Donovan, Mary B. Ward, Matt Malloy, Rebecca Nelson, Julie Kessler. Screenplay: Hal Hartley. Cinematography: Michael Spiller. Production design: Steve Rosenzweig. Film editing: Hal Hartley. Music: The Great Outdoors, Hal Hartley.
There's a brilliant moment in the middle of Hal Hartley's short film Surviving Desire when Sofie (Mary B. Ward). who is on the cusp of an affair with her professor, Jude (Martin Donovan), reads to him from a story she's been writing. It recounts the thoughts of a man articulating his feelings about the relationship he is in with a woman. When she finishes, Jude asks her to read it again, but to change the voice in the story from a man's to a woman's. When she does, the effect of the same words, with only the pronouns changed from "he" to "she," is subtly and poignantly different. Unfortunately, any insight the change might have made in the relationship between Jude and Sofie doesn't persist. This little film, just under an hour, is a case study in postmodernism and its sometimes paralyzing irony. I can imagine D.H. Lawrence, for example, might run screaming from the room if he could have been shown Surviving Desire. It's an object lesson in what he most disliked about modern life: the disjunction from the instinctual and the immediate -- what he referred to as "sex in the head." Henry James might have marveled at the exquisite self-consciousness of Hartley's characters, and E.M. Forster, who chose as epigraph for Howards End the phrase "only connect," would have nodded in sorrow at the failed connections in the film. But I think the presiding influence on Hartley's movie is Jean-Luc Godard, whose men and women talk their way through relationships just as Jude and Sofie do, but who are also capable of bursting into moments of irrational play, like the dance number Jude segues into after falling in love with Sofie. It's a steal from the Madison scene in Godard's Bande à Part (1964). Hartley's movie is a bittersweet comedy. It opens with Jude reading from The Brothers Karamazov, trying to get his students to comprehend Dostoevsky. They don't: Someone literally throws the book at him and others walk out. We come to realize that perhaps Jude doesn't comprehend Dostoevsky either: When he recounts the writer's tortured life to the class, it's easy to see that Jude has never experienced anything of that order, that the intellectual content of the novel eclipses for him the emotional content that comes from Dostoevsky's life. The film ends with Sofie, working in a bookstore, repeating the works "Can I help anyone?" to the customers who mill around her, her tone of voice suggesting that she hopes no one will answer. Hartley's characters are beyond help, stuck in their own minds. A bartender in the movie says that "Americans ... want a tragedy with a happy ending." What Hartley gives them is a comedy with an ending that's neither tragic nor comic but rather that special postmodern blend of both.
